S o u t h   W i n g

In ancient times, various cultures evolved in the area that is now known as China, a country that commands the large part of Eurasia. In these cultures, figurines and designs portraying animals were used as talismans and charms to assure eternal life, good government, a blissful afterlife, and good fortune. Sometimes animal designs, employing either full bodies or only the face of an animal, appeared on ceremonial bowls. These designs both averted evil and promised a better life. More realistic renderings of animals reflect the cultural interactions between the diverse peoples who made the area their home and foreigners.

During the Miho Museum's Spring Season, these artifacts will be on view in the Chinese area of the South Wing.

When the construction of the Miho Museum began in 1992, the Metropolitan Museum and the Miho Museum developed a warm friendship. The staff of the Metropolitan shared invaluable advice concerning museum construction and the creation of exhibition space. In the summer of 1996, a special exhibition of works from the Miho Museum Collection was shown at the Metropolitan Museum. To mark the Miho Museum's first anniversary, the Department of Greek and Roman Art at the Metropolitan Museum graciously lent the Miho Museum a Handle of a situra in the shape of Silenos Mask for a special showing.

This metal fitting for a handle was at one time connected to the rim of a large pot. It has a sculpted decoration showing the face of Silenos, a follower and mentor of the wine god, Dionysos. As in many designs relating to the veneration of Dionysos, which involved a union of worshiper and god through intoxication, the vine and grape motif is used to represent wine and devine intoxication. The crown seen on this object also is a common motif of Dionysos mythology. Made of bronze, a piece of copper has been fitted to represent the figure's red lips.

Extant statues depicting a human form in the round from the Achaemenid Persia are rare. This work is thought to have been the head of a small statue from that period. It is believed that the crown was once painted. The minute details closely resemble the facial structure of the monarch or prince that appear on the Persepolis relief.

Fusing together small fragments of colored glass and wrapping glass rods around the outer surface created this marvelous bowl. This highly evolved and mysterious technique of glassware production was originated in Mesopotamia.

Imagine encountering a human being with bird claws for feet and wings for arms. Then imagine a human being with cloven hooves and two horns on its head. In their faces is a hint of something Mesopotamian, and their kilts and posture suggest the unique characteristics of artifacts found between southern and eastern Iran. Do these figurines depict gods or heroes? The answer remains a mystery.

Beginning in the third century B.C. in West Asia, it became common to portray gods in a human form with the horns of a beast or the wings of a bird of prey. This practice took a variety of forms, depending on the era and region in which they were created.

In this exhibition, visitors will encounter images of gods, humans, and beasts, as well as the creatures that link them. It will explore heroes and sacred animals as they developed in West Asia.